De aquí a la eternidad

I really enjoyed this film. Frank Sinatra walked away with the Oscar, but I thought Montgomery Clift's performance was the standout. I know they weren't competing against one another, but if any actor were to win an Oscar I would have preferred Clift. Lancaster and Kerr gave the other great performances. I liked the interaction between Clift's and Lancaster's characters, particularly in the scene when Lancaster is telling Clift he could avoid fatigue duties 'if he were smart'. Clift replies 'Yeah, but I ain't smart', and Lancaster says 'I know, I know but if you were...'

I thought the best parts of this film came from the great acting of Kerr, Lancaster and Clift. It may suffer from being called a classic, making people's expectations high, but I thought it was very enjoyable.

1941. Private `Prew' Prewitt has been transferred to Hawaii. His new captain is keen to get promoted and sees Prew's former boxing prowess as his way to get noticed. However Prew has given up boxing and refuses to join the team – leading the Captain to punish him in many different ways. Meanwhile Sergeant Warden is beginning an affair with the Captains maltreated wife. Prew himself finds a girl but his friend Maggio has conflict with Sergeant Judson. Meanwhile the threat of attack looms.

This is most famous for Warden and Holmes' adulterous passion as the waves lash over them. Probably people who haven't seen the film will still know that scene. However this film is much more than that. The plot has several main strands – mostly involving romance – running through it. It works well but it is really a soapy melodrama at the end of it all. This doesn't mean it's not enjoyable and intense but it is really that basic. The Pearl Harbour attack is tacked onto the end and didn't really grab me.

The central relationships are OK but the film is strongest in some very good male performances. Clift is great as the put upon private, while Lancaster deserves recognition for more than just snogging Kerr on a beach. Kerr and Reed are OK – Kerr is better but none of the female roles are as good as the male leads. Warden, Sinatra and Borgnine are all great support and steal the show when they are on screen (Sinatra especially).

Overall I was surprised to see this film being hailed so high in many polls. I found it to be involving, interesting and well acted but at it's core it is a melodrama that has a few bangs at the end. Worth a watch.

James Jone's novel was deemed impossible to put onto the screen {how many times have we heard that one before?}, but nobody told director Fred Zinnerman and the cast of dreams. Troubles with the making of the film were many, the film was thwarted by a censorship requirement that the army not be portrayed as careless and over brutal, and some of the sexual themes from the novel had to be toned down. Zinneman also had to fight a continuous battle with Columbia's head ego tripper Harry Cohn. He interfered with every script that was shown to him, and casting was also a tough thing to achieve with Cohn trying to call the shots. As it turned out we got one of the best composition of actors in one film to have ever graced the screen.

From Here To Eternity is a film about the lives and loves of a number of characters at Schofield Barracks-Pearl Harbor, just prior to the infamous attack by the Japanese that changed WW2. Illicit affairs, friendship, nobility, bravery and cruelty come crashing together in one gigantic lavish production that defines the word classic. Burt Lancaster, Montgomery Clift, Frank Sinatra, Ernest Borgnine, Jack Warden, Deborah Kerr, and Donna Reed all give performances that any other actor would be proud to have given. On another day they all could have won awards such was the strength of performance they all gave. Reed & Sinatra won best supporting Oscars, while Fred Zinneman rightly won for best director to cement the film winning outright for best picture. Yet the film's crowning glory didn't win an award, for to me, Montogomery Clift gives one of the best performances in motion picture history, it's layered to perfection and it's one of those character portrayals that has me involved to the point of exhaustion. One scene in which he plays a bugle lament as tears roll down his face is just stunning, and I know how he feels because I cry along with him to, such is my involvement with his turn as Robert E. Lee Prewitt.

Laced with memorable scenes {the kiss, the bugle lament, Lancaster blasting away at the Japanese planes with machine gun in hand}, and performances to match, From Here To Eternity is essential cinema to be viewed every year and homaged and praised whenever possible. 10/10 in every single respect.

It's often said that the simplest stories are the best. This isn't true. The simple stories are easy to get right, but a complex ensemble piece with multiple protagonists and numerous subplots can be just as effective, although it's a lot harder to pull off successfully. From Here to Eternity stands in the tradition of The Best Years of Our Lives, Seven Samurai and The Godfather, of pictures with interwoven plots that have become classics thanks to strong screen writing, intelligent direction and powerful acting performances.

Part of the reason From Here to Eternity works is because it is very quick in establishing its characters and plot lines. It opens with a series of interlinking scenes, introducing us to Montgomery Clift, Frank Sinatra, Philip Ober, Burt Lancaster and Deborah Kerr, giving us clues about Clift's past and hinting at the future relationship between Lancaster and Kerr, all in the space of five minutes. Director Fred Zinnemann, with a confidence that is lacking in his earliest features, shoots these scenes with subtle technique to give them maximum storytelling effect. For example, he gives Clift's character a superb introduction, walking at a right angle to the marching column until he is brought right into close-up. Once the dialogue begins he uses sudden changes of angle to highlight certain lines, for example the close-up of Lancaster telling Kerr "I'd be happy to help", at which point the audience know exactly what is going to happen between those two characters. Donna Reed is of course introduced a little later, but to compensate she is given a very distinctive first shot, framed on her own immediately after some busy crowd shots.

But Zinnemann's direction isn't all pure functionalism. He makes sparing use of attention-grabbing stylisation when the moment demands it, such as the dolly-out through the rain-soaked window during Lancaster and Kerr's first kiss. And this stylisation even helps keep the narrative together, for example cutting from the roaring sea at the end of the famous beach scene to the smoke rising from Clift's cigarette. Throughout the various parallel plots there is a tone of melancholy and regret, and Zinnemann keeps this commonality with his consistency of style.

Of course, you get the same problem or at least the same feature in From Here to Eternity as you do in They Died with Their Boots on or Titanic, in that the audience, knowing their history, know what is going to happen at the end. The strength of the non-combat story lines is such that we forget when and where we are, and as such it is important that we are eased into the finale of the Pearl Harbour attack so it does not seem such a surreal break in tone. This is done with characteristic subtlety, with two objects placed noticeably yet not obtrusively into the frame to jog our memories. The first is a calendar showing December 6th on the wall beside Burt Lancaster, and the other a signpost reading "Pearl Harbour" after his final meeting with Kerr.

One of the biggest challenges for the makers of an ensemble piece is that you need a larger than normal pool of leading players, and yet you must ensure none of them will overshadow the others. This is another thing they got right in From Here to Eternity. Clift, Kerr and Lancaster are all competent performers without big egos, and they all give steady performances, even if they are far from career-bests. As to Sinatra, what's amazing is not the quality of his performance (it was always evident he could act) but that he was even allowed to play a dramatic, non-musical role. It just goes to show the increased flexibility of cinema in the 1950s, as well as the rising status of the musical genre. To give it some perspective, can you imagine Fred Astaire or Bing Crosby having done the same thing in the 30s? From Here to Eternity won 1953's Best Picture Oscar, and like all successful pictures was followed by a host of imitators. 1955's Battle Cry for example is another many-stranded story about soldiers at the start of World War Two, and even features a rather tepid knock-off of the famous beach scene. However, while Battle Cry has some nice moments, structurally it is an absolute mess, an example of how easy it is to do a botch job on a complex storyline. That's why From Here to Eternity is such a rarity, being an ensemble piece that really works.

... from what we feed on these days and perhaps only of relevance as an artefact of the time it was released and the period it reflects, the way we behave and interact in the real world has changed unrecognisably since. It does, however, deliver us some top drawer performances from some genuinely talented performers, most of them to go on to much bigger and better things. All in all, a solid 1950s era film set in the prior decade before the outbreak of war, it uses multiple and interlinked sub plots to show us the sorrow and sadness experienced by numerous characters as a result of the choices they've made, the people they met and how they interacted.